Display typeface talk given by Garry
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The document discusses the history and development of typefaces from the 1570s to present day. It describes how early printers experimented with font size, color, and patterns to differentiate text. In the 1700s, masters developed different pen pressures and strokes to create styles of writing. Over time, more typefaces were created and styles like slim, regular, and bold were developed for font families. The document also discusses early digital fonts and software as well as challenges in designing typefaces for different languages.
Display typeface talk given by Garry
- 1. In the 1570s the first typeface print was made and because all type looks like a box of text people tried to make it look more interesting to differentiate the new paragraphs or chapters, like in the left image use a bigger font, different colours add drawing patterns around the first capital letter of the paragraph. In 1794 a master of a nib pen had been experimental playing with heavy and light weight in typefaces seeing what style could be formed. And had created beautiful nib pen writing style writing with different pressure and thickness of strokes and they kept repeating the style making it constant. This form of writing had been incorporated in the daily lives of people who could read and write, which had been used for many hundreds of years, used when writing messages on scrolls and letters, however that type of writing style has been lost. When you first see the words ‘Display Typeface’ you may think of bold capital letters in large fonts and this is because people over time had been experimental with typeface making. At that time people without digital textbox, were changing letter font size manually which takes hours and locking it in place within the catch.
- 2. This kind of typeface setting used in the 21st century is considered as breaking conventions and quite normal. However, in those days where there weren’t computers and needs to be set by hand would seem like a very long lengthy process, which require working in layers and different colours. Even aliening the paper back in position must be hard unless their machine can keep the sheet of paper in place. “Early digital families had small character sets and only come in four styles.” • There were 256 fonts but in reality it’s only A-Z, in lower and upper case. • It cannot have more then 4 set of families, concerning with Window’s battery life span it limited to the electric to keep the machine working and it could only support four type font. • In the mid 80s Adobe had font Myriad and Adobe which controls the environment and your press person controls the printing press. • The main fonts software are Cambria and Calibri is the main on Word. There’s are the mass style it was crated in of each font typeface: Slim/ Regular /Bold (Normal)
- 3. By that time so many typefaces and new family were developed and it got confusing so someone created this graph to make it easier to design families and letting the client choose what font style looks better for their product, as not being graphics designs or type face makers they don’t see the difference in typeface as easily as designers do, therefore this chart was made mostly in their benefit. In Garamond Premier Pro they had a list of type titles • Display • Regular • Sub Head • Medium • Medium caption This may look very simple however, some graphics designers may want to combine these typeface styles together. But the key issue was non-typeface person can’t see any major differences as the difference is so minor. So later on, the names of these typeface had more value in terms of choosing what to use. For example (personal example of mine) Comic San is actually quite a regular font used in flyers and posters and the issue to typeface creators and graphics designers seeing a posters related to health care text in comic san doesn’t give off a serious enough tone to it’s topic. It actually really annoys people who take deliberate care in choosing the right typeface to use. Surface decoration type- is playing with lines, shadows, light and heavy weights. Like this letter g if the end tail is in connection with the top part it may give a different feeling to the word that it’s part of, and it is that minor difference that makes the brand or logo recognisable. One different letter in a serious typeface can give off an entire new feeling towards the word.
- 4. Very extremely small families become limited to what style you can do to make it unique different without making it unreadable. Like the Indian language it’s spacing is very important, as is language like Hibru. Indian Typeface Hibru Typeface Ironically Latin is the most easiest language to change in terms of making more families. However, I think the hardest is changing Chinese typefaces because it’s build so square like that it’s impossible to read if it’s in a bold font if not change in font size, but I think it’s regular typeface done in slim and regular style. You could even say we have imprisoned ourselves within a box, it was so useful in converting to digital that to change its style even remotely can make it unreadable. “The language of typeface design is a time machine that never go out of beta.” “Vey little stuff is new, it stretches it made smaller, it’s space changes. But what else could change?” -Garry Nonetheless Garry still thinks people should continue to change typefaces, no matter how impossible it seems to create something new it is still a challenge that is worthy of challenging. We can try a little more and pull back whenever we like. Karen Pang